In 5:26, if you pause the video at the right moment and look very closely at the bottom left of the laptop then you can barely but definitely see Axwell using Omnisphere with Swedish House Mafia on his Laptop. The image proving it is also here: http://www13.zippyshare.com/v/ZD8rXIR4/file.htmlmore
Steve Vai of [Alcatrazz](http://equipboard.com/band/alcatrazz), [Stuart Hamm & Steve Vai](http://equipboard.com/band/stuart-hamm-steve-vai), [The G3 Jam](http://equipboard.com/band/the-g3-jam), [Vai](http://equipboard.com/band/vai), [David Lee Roth & Steve Vai](http://equipboard.com/band/david-lee-roth-steve-vai), [Snakebite](http://equipboard.com/band/snakebite), [Whitesnake](http://equipboard.com/band/whitesnake), and [Western Vacation](http://equipboard.com/band/western-vacation), talks about his use of Spectrasonics Omnisphere Virtual Synth, stating, “There’s so much to choose from. The variety can keep you searching for hours! But if you know what you’re looking for, it’s easy. You can search by techniques, including some weird ones like Babbling, Doo-wops, and they’re even broken down into sforzandos. The way things are categorized is really nice. You can click a category, and then refine your search by type – with the vocals you search by Gender, you can refine that by searching Classical choir by Females or various Boys choirs...I’m really excited to see how Spectrasonics evolves and hoping that the designers are imagining things that are off the radar, because they’ll bring them into the radar.”more
Eric Persing and his Sound Design
In this [article](https://www.spectrasonics.net/news/news-content.php?id=45) from Spectrasonic's official site. A.R. says “There is a lot of Omnisphere in this score. I recorded many textures from Omnisphere and bounced them as audio, then mixed them with live strings and played with processing the result. We especially used the granular synthesis capabilities of Omnisphere, which was tweaked and overlaid with of a lot guitars, especially in the ‘Touch of the Sun’ and ‘RIP’ cues; Danny loved the sound.”more
"For general modulation and synthesis features, especially when it comes to programming envelopes, this is my favourite synth/sound module out there. It has some incredible synthesis features, and a really user-friendly layout, which I find becomes one of the most important factors when it comes to the real-life usability of a plug-in."more
Music gear reviews News Tech Fast Car hitmaker Jonas Blue takes us into his tech den Fast Car hitmaker Jonas Blue takes us into his tech den By Danny Turner (Future Music) February 10, 2016 Tech Self-confessed gearhead Jonas Blue on the technology driving his productions Image 1 of 14 Fast Car hitmaker Jonas Blue takes us into his tech den Click the arrows for more shots of Jonas' studio. Prophet 5 Sequential Circuits Prophet 5. Outboard Mutronics Ltd. Mutator and friends. The Cat Octave The Cat. DJ setup DJ rig: Rane rotary mixer, 1210s and CDJs. ARP ARP 2600. Chorus Echo Roland Chorus Echo. Moog Moog Music Inc. Minimoog Model D. Laptop Logic, the preferred DAW of choice. CS 80 Yamaha CS-80. Compressor Tube-Tech CL1B opto compressor. Memorymoog Moog Music Inc. Memorymoog. Stompboxes Stompboxes of all flavours. Studio shot Alesis Andromeda, Arturia MiniBrute, Akai MPC3000 and much, much more. Fast-emerging London-based producer Jonas Blue has found immediate success with his debut single Fast Car, a cover of Tracy Chapman's famous hit single almost 30 years ago. Originally an acoustic track, Blue has turned Chapman's version into a smooth, uplifting tropical house number with assistance from vocal talent, Dakota. With the single hitting the No. 1 spot on iTunes and Spotify in numerous countries, we chat to Jonas about the track's conception and his love of hardware. Why did you decide to debut with a cover version? "I always remember it being the song that would come on when I was getting in the car and going on long journeys with my mum. It was a few years ago that I knew I wanted to do a cover version, but I didn't know when or how I was going to do it. "The one thing I did know is that I always wanted to stay faithful to the original and find a singer who was, not similar, but could do it justice in the original key. I didn't want to use any of the original sounds either. Time has moved on and I wanted something that would work in my DJ set." Was translating it from an acoustic to electronic version the key to getting it sounding right? "Definitely, and I think that's why there isn't much there in the break downs, because I wanted to keep that acoustic feel. Everything came into my head before I'd even got into the studio and made it, so when I did get in there and started laying everything down it was a quick process – I literally made the whole track in one night. " Everything does have its purpose and I know what to go to. The way I've got my studio rigged up, a lot of the synths have MIDI retrofit, so you can stick them on a MIDI track and send them out to whatever board you want to use." What was your introduction to music technology? "Do you remember Kellogg's Coco Pops used to give out a free program? I think it was called Ejay, and that was my first ever piece of software. I don't think I've ever told anyone that [laughs]. It was like building blocks, the sounds were already done for you so you just had to piece it together. Looking back, it was a great way to learn how to arrange, even though I didn't have a clue what I was doing. "I never really had any gear; I was more into the DJ side, so I had that set up, a pair of Technics 1210s and a Numark CD MiX-1, which was a CD and mixer built in one. I tried all the DAWS, starting with Fruity Loops, which I love, then Cubase and Reason - and from that I went to Logic and never looked back really." What is it about Logic that you prefer over the other DAWS? "I think it's personal, just workflow. Especially for the music I'm making, I find it quite hard to do that on the other DAWs now. I love the idea of Pro Tools, but it doesn't seem as attractive to me in terms of the music-making side. It's great for recording, but with Logic you get the best of both worlds, the ability to do great tracking and producing something that sounds great as well." Have you tried Ableton? "Yeah, I use Ableton for DJ mixes and quick mash ups. I've actually been using it recently to warp a lot of the vocals that I've been getting sent and time stretching them. We're working on some live shows at the moment, so in terms of my DJ setup I'll be using Ableton, especially Ableton Push." What software are you using in Logic? "I love what Native Instruments do and you can't go wrong with Komplete. I love using Massive and Kontakt, they get used every single day. Omnisphere is massive for me as well, but the only other thing I'll use is Logic's built-in EXS24 sampler, which is a godsend for programming all my drums."more
"Omnisphere and stylus RMX are two of my most valued go to plug-ins and they are sprinkled al over this album with the tight snares and drum loops from stylus RMX and the unusual sounds created in Omnisphere," Roni Size talks with Spectrasonics in this [interview](http://blog.timespace.com/2014/10/roni-size-talks-to-us-about-using-rob-papen-synths-spectrasonics-and-izotope/).more
In [this article](http://www.musicradar.com/news/tech/in-pictures-joris-voorns-home-studio-238489/4) by Music Radar, it reads, "Unsurprisingly, there’s a computer at the heart of Joris’s setup - a Mac running Logic (favourite plug-ins include Omnisphere, Sylenth1 and Battery) - while monitoring is taken care of by a pair of Genelec 1031a speakers."more
“Digital spent 15 to 20 years trying to compete with the warmth and sound of analogue, but only in the last five years with plug-ins like Diva, Dune, Monarch, Omnisphere and the Native Instruments ones, is there a real new way of competing with the analogue Moog, Memorymoog or ARP 2600.”more
"I don't think there's any Shadow Child tracks that haven't used Omnisphere to be honest with you. It's so inspiring every time for me, for all sorts of reason, not just pads but basses. I can always find at least more than two or three sounds per track from Omnisphere," Shadow Child says, in this video, at 6:15.more
I've read numerous reviews about the GIGANTIC number of presets in Omnisphere, but what set it apart from reFX Nexus was the ability to also make synths and the vast amount of possibilities Spectronics programmed into Omnisphere. Since I find Trance and Electro appealing I found Omnisphere to be a matching synth for many producers of those genres and many other genres as well!
Over the past few years, I've stopped using a lot of soft-synths and have focused more on hardware. But Omnisphere remains a favorite, since it makes amazing, lush sounds that just won't come from an analog synth. It's a bit pricey, but is incredibly useful. I especially like the patch randomize button, which is a great way to hear sounds you might not have experienced otherwise. More developers should use this!
Looks like a powerhouse that has all sorts of funky samples. Its brutal on RAM, but it comes with a 50 gb library that apparently includes sampled lightbulb filaments O.o. Seems like a great one for soundscapes and textures for film and background stuff.